Monday, December 31, 2012

27 (or so) for 2013

David HodgeNumbers are wonderful in that you can make them dance and sing pretty much any tune you’d like and yet they still have the capability of stopping you dead in your tracks. For example, I didn’t think twice about it when someone congratulated me on starting in on my fourteenth year as part of Guitar Noise. That particular number just keeps clicking along, like a metronome.

But then I also realized that, as of this year, Guitar Noise has been a part of me for a full quarter of my life. And that’s one of those truly wild stop-everything-and-just-try-thinking- about-all-the-implications moments, a moment that stretches out forever and lingers throughout entire days and weeks at a time. Especially when one considers that this percentage will also just keep clicking along.

When Paul suggested I might write up some kind of retrospective look at the various articles, lessons, interviews and reviews that have been done on Guitar Noise, I honestly didn’t think all that much about it until I began to realize how much of my life is here. And about how much this website has reached into my everyday life. So as I look back to pick out some lessons that I think may be worth your while, I’m also finding myself revisiting times and places and people who made each article possible, whether through their questions or their inspirations and stories.

In other words, don’t consider this a typical “best of” or “most popular” compilation list such as those that tend to pop up everywhere this time of year. Instead, think of this more as sitting back with some old friends and every now and then one will say, “Remember this?” or, “That was cool, wasn’t it?” It’s a free-form floating trip through Guitar Noise history, if you will, and hopefully one you’ll enjoy:

The Open Tuning Tutorial Lessons - November & December 1999 (“Look Ma, No Hands!” and “Here There Be Monsters“)

Imagine this â€" back when dinosaurs roamed the earth, there was still Internet but it was pretty much nothing but text. Lots of text. This two-part introduction to the world of open tuning was a big step for us because (a) it was in two-parts, which was my way of admitting that I was truly writing more than anyone probably wanted to read in one sitting and (b) marked our site’s first use of music notation and tablature. Not the typical (and, to be honest, slightly cheesy) numbers-on-lines that you’d find elsewhere on line at that time, but clear visual tablature like you’d find in books, which made exploring arrangements of “Shelter From the Storm” and “Every Little Thing She Does is Magic” in open D tuning a lot of fun.

Sustained Tones â€" An Animated Discussion  -  November 2000

One of the coolest thing about Guitar Noise, even back when we were totally ecstatic to be getting a hundred hits per month on any given article, was that people were writing and engaging our contributing writers in online conversations. This led to articles like this one, a very entertaining and educational look at the use of sustained tones in the music of Oasis, co-authored with Guitar Noise reader Abel Petneki from Budapest. It also led to a big overhaul of our Guitar Noise Forum, which to this day is one of the friendliest and most helpful places you can go to online for help and advice with the guitar.

House of the Rising Sun  -  May 2001

It’s hard to believe that it was all the way back in August of 2000 that we put our first Guitar Noise song lesson, “Horse With No Name,” online. And, again, in that dark prehistoric Internet age, we relied on (a lot of) text and supplemental music notation and guitar tablature to get our lessons across. And judging by the emails we were receiving that certainly seemed to be the case. For whatever reasons, this lesson on the Animals’ version of “House of the Rising Sun” generated a lot of page views and emails. It was also one of our first lessons on fingerstyle playing, which made it a challenge to write in as precise a manner as possible. And I really love this song!

Losing My Religion  -  December 2002

By the late fall of 2002 I had managed to save up enough money to buy a good digital recorder, which allowed us to post downloadable MP3 files for our song lessons. This R.E.M. song was one of the first ”lessons with MP3s” to grace Guitar Noise.

It also marked a big decision to do more to create unique single-guitar arrangements of songs for our site, which also seemed to go over very well with our readers.  I’m incredibly proud of how our this arrangement incorporates all the signature mandolin parts and bass lines while still being distinctly a guitar arrangement.

Songwriting for Beginners  -  March 2003

I got an email from Nick Torres in 2002 asking about writing articles about singing. That led to he and Ryan Spencer creating the Sunday Songwriters’ Group. And that led to a number of great articles on songwriting from Nick, not to mention his participation in numerous music projects and books that I’ve worked on. This piece of Nick’s is the article I recommend whenever any question concerning songwriting comes my way.

Five Questions with Linda Taylor  -  November 2002

An Interview with Janis Ian  -  November 2003

The Holmes Brothers at Club Helsinki  -  October 2004

I’ve met a great many people from all over the world through Guitar Noise and have developed wonderful friendships that I wouldn’t have had otherwise. And I have also had the privilege of meeting â€" both online and in person â€" many musicians whose candid answers and advice proved to be interesting and helpful. And whenever we could return the favor with a concert or CD review, we did our best.

Memphis Minnie  -  May 2005

Our Guitar Noise Artist Profiles have seemingly been around a long time, but we truly have Colette Dumont to thank for some of the very first ones to our website. She brought us up to speed on many great guitarists from the very early days of recorded music (many that I only knew very little about) and Collete’s own love of music and of these artists always made the reading easy and educational.

Money â€" A Song for Beginning Bass Guitar Players  -  July 2006

In September 2006, my first book â€" The Complete Idiot’s Guide to Playing Bass Guitar â€" hit the stores. Five more guitar, ukulele and songwriting books later, I still can’t thank the readers of Guitar Noise enough for all the support and encouragement they’ve given to me.

Guitar Noise Podcast #1  -  January 2008

In 2008 we launched our series of Guitar Noise Podcasts, which focused on the mechanics of solid strumming technique. If possible, the response to these was even greater than the response to our song lessons! We’re looking forward to expanding the Podcast program in 2013, using them to augment our new song lessons â€" exploring ways to improvise and improve on any given song. It’s hopefully going to be another exciting step forward.

Spotlight on SSG  -  December 2010 through August 2011

Kathy Reichert â€" Another Christmas

Vic Lewis â€" Constant Chameleon

Nick Torres â€" It’s Not A Love Song

“jamestoffee” â€" Bollywood Blues

John Roche â€" Going Back to Tupelo

Alan Green â€" Sold Out

Spookhand (with Jeff Martin) â€" Black Out

Chris C. â€" Perfectionist Beginner’s Blues

“One By One”

Getting to hear the music created by members of the Guitar Noise community, past and present, is one of the greatest pleasures I know. Whether it’s a single song created for the Sunday Songwriters’ Group or a full CD of intricate music like Arjen (“Sleutebos”) Schipper’s Inside Outsider, I take a great deal of enjoyment with each listening.  I often find myself wishing there was more time in the day to simply sit and let the music carry me along. And knowing the musicians somehow seems to make the whole listening experience even more enjoyable.

How to Practice Your Musical Instrument  -  May 2011

Quite a few folks in the Guitar Noise community, such as Alan Green, Nick Minnion, and many others, are teachers, too. And then there’s Tom Serb who founded the Midwest Music Academy in Plainfield, Illinois. Tom’s been involved at Guitar Noise for (seemingly) ages, tirelessly, patiently, and selflessly answering questions on almost any topic that might turn up on our Forum Pages. Whenever he finds the time to pen an article for us or a brief nugget of knowledge for the newsletter, I automatically go through it to learn even more about both the guitar and teaching guitar. Like so many of the GN community I’ve met personally, he’s an inspiration.

Will the Wind Ever Remember? â€" A Tribute to Steinar Gregertsen  -  February 2012

I bought both of Steinar’s CDs full of his beautiful lap steel guitar music and play them constantly. Most of the world will never hear his artistry and his talent but many of us here at Guitar Noise were lucky to do so and to interact with him on a regular basis. It’s impossible to not make this sound anything but sentimental but I sometimes think that maybe that’s why we are here on this world â€" to give of our music to each other and to have it help each other enjoy peace and life.

Finally, it would be incredibly remiss of me to not mention my favorite GN writer, who also happens to have created the website! You may know Paul Hackett as the guy behind the scenes, but it is always a treat to read anything he may find the time to write. Whether it’s a travelogue from China, a Led Zeppelin tutorial, a Dylan concert review or simply a “hi and here’s what’s going on” blog or interview, he’s a fascinating person. And without him, none of us would have ever gotten to know each other.

All in all, this last “quarter of my life (so far)” has been one incredible trip. As the calendar keeps clicking along toward 2013, I can only hope that things continue to be so interesting!

Peace

Tuesday, December 25, 2012

We Wish You a Merry Christmas

Playing chord melody-style arrangements is easiest when you work with basic chords you know. This simple arrangement of the traditional English carol “We Wish You a Merry Christmas” is one you’ll be playing in practically no time at all.

Structure-wise, our carol consists of two parts, the “we wish you a merry Christmas” part:

We wish you a merry Christmas
We wish you a merry Christmas
We wish you a merry Christmas and a Happy New Year

And the “good tiding we bring” section:

Good tidings we bring to you and your kin
Good tidings for Christmas and a Happy New Year

Each section can be broken down into two lines, so let’s start with the first line of the first section in just a moment. First, though, let me mention that we’ll be playing this in the key of C.

Why? Mostly because of the chords that will eventually be used in this first section. “We Wish You a Merry Christmas” follows an interesting chord progression in that it modulates, or temporarily changes keys if you will, three times before the first section is over. It starts on C in the first measure and then goes to F in the second. This progression is then raised up a whole step with the third measure using D as its harmony before settling down to G in the fourth measure. The first two measure of the third line (“…we wish you a merry Christmas and a Happy New Year…”) begin with E followed by Am.

So when arranging this carol, you have to be thinking that whatever major chord you start out with, you’ll also be needing the major chords one full step higher and two full steps higher. In the key of C, as you’ve just learned, this means C, D and E. If you played in G, then you’d need G, A and B. The key of D dictates D, E and F# and A would use A, B and C#. Let’s not even think about the key of E.

Starting out in C seems to give us the easiest set of chords to work with, so let’s start there with our first four measures of the first section:

We Wish You a Merry Christmas Guitar Tab Lesson Example 1

Begin by fretting your standard open position C chord and strum from the A string down to the B string. Still keeping your fingers in the C chord position, strike the B string (where your index finger is on the first fret), add your pinky to the third fret for the next note, take it off again (hopefully you didn’t remove your index finger!) for the next note. The idea here is to not break contact with your C chord until the very last note of the first measure â€" the open B string. When you get to that point, pick up all your fretting fingers, but don’t take them too far off from the strings!

When you get to the second measure, your temptation might be to make an F chord, but try not to give in. Instead, use your first finger for the A note (second fret of the G string) and your middle finger for the F note (third fret of the D). Doing so will allow you to get set up for the interesting voicing of D7 in the third measure. After playing the A and F pair, shift your middle finger to the C note (third fret of the A string) and pinch this pair of notes and then use your ring finger to fret the C# note at the fourth fret of the A string and pinch this measure’s final pair of notes.

You should now find yourself in great position to form the D7, which is essentially an open position C7 chord that’s been shifted two frets up the neck. If you’re wondering why to use this particular chord voicing, look no further than this measure. By playing this form of D7, your fingers are covering all the measure’s melody notes, or not covering in the case of the open high E (first) string. That certainly makes your job a lot easier.

The final measure of this section is an open position G chord. Just be careful to pick only the strings you want.

Hopefully you didn’t find the first line all that hard. With a bit of practice, you should be able to play it reasonably well fairly quickly. And the good news is that the last half of the first section is actually easier:

We Wish You a Merry Christmas Guitar Tab Lesson Example 2

Here you start out with an E7 chord but you want to finger it with your ring finger on the second fret of the A string. This allows you to use your middle finger for the F note on the first fret of the high E (first string). Naturally, you should use your pinky for the D note on the third fret of the B string.

Another way of going about this would be to strum the full E7 chord and then leave only your index finger on the first fret of the G string while shifting your middle finger to get the F note. Picking up your index finger will often result in your accidently playing the note of the open G string and though that may be okay sometimes, here it will change your chord from E to Em and that’s not what you want at all. Obviously the more of the chord you can hold intact while playing the melody notes, the more fluid you will sound.

By the way, this measure you’ve just played is pretty much the end of the hard stuff, so give yourself a big pat on the back!

The last three measures are basic Am, G and F chords, but there is one catch. For the F chord that starts the next-to-last measure in this part, finger it like you would an open position E chord that’s been shifted one fret up the next. That is, use your index finger on the second fret of the G string, your ring finger on the third fret of the D and your middle finger on the third fret of the A. Obviously doing so puts your pinky right in place for the D note (third fret of the B string) in the melody, but it also makes for a very smooth transition to the G chord at the end of this measure. Play the final C chord and you’re ready to move on to the second section.

Okay, let’s move on to that second section. Since we’ve been using a lot of block chords for accompaniment in the first section of “We Wish You a Merry Christmas” let’s go with some simple Travis-style picking for this part of the carol:

We Wish You a Merry Christmas Guitar Tab Lesson Example 3

There’s nothing here you can’t handle, particularly if you’ve already worked out on our Guitar Noise lesson on “Deck the Hall.” The first measure is a C chord using the open G string as an alternating note and the second measure uses the G chord as its harmony.

You’ll be playing Am to start the third measure. The little twist here is that the alternating notes are now on the D string (you should always give yourself a new challenge!). This is another walking bass line with parallel harmony, much like Example 6 in Connecting the Dots Part 3.  It may take a little getting used to at first, but if you focus and concentrate, you’ll be able to handle this small variation of the open-G-string-as-alternating-note technique.

You’ll run into another descending bass line with parallel harmony in the first measure of the last half of the second section:

We Wish You a Merry Christmas Guitar Tab Lesson Example 4

This is a different spin on the C to F chord change. Typically, one would walk the bass line up from C to F (though the open D and E (second fret) of the D string. Here, you’ll descend in half steps from C to A, which is part of the F chord. The first pair of notes is your C chord, the second pair (the B at the second fret of the A string and the D at the third fret of the B) give you a G chord, especially when matched with the note of the open G string. Again, this is another voicing of G you’ve run into a lot, especially in the aforementioned  “Deck the Hall” lesson.

The next pair of notes, Bb (first fret of the A string) and C (first fret of the B) imply a harmony of C7, which is often used as a transition chord between C and F. Play the Bb here with your index finger and the C with your middle finger. You can then use either finger to get the F note at the first fret of the high E (first) string that starts the next measure.

The last two measures are a repeat of the final two measures of the first section, so they should pose no problems for you.

Alright, then! Let’s try putting it all together. I have to apologize that I screwed up the first two measures of the second section when I put this together, but the mistakes I made were simply hitting other strings, so it still sounds passable:

Download a PDF of the complete arrangement (Right-click and “Save as”)

Besides, if there’s one thing I’ve tried repeatedly to teach you here at Guitar Noise, it’s that you don’t have to (and shouldn’t) feel compelled to play everything note-by-note. Use this lesson as a template to create your own arrangement. In other words, have fun with it and don’t be worried about breaking it!

Anyway, I hope you enjoyed this lesson with this perky little carol. Be sure to share it with your family and friends this Christmas, and for each Christmas to come.

Until our next lesson,

Peace

LINER NOTES:

It was almost exactly three hundred years ago when King George I of England requested plum pudding be served as part of his first Christmas dinner in Great Britain (George, originally from Germany, was proclaimed King in August, 1714 and first arrived in the country that September). While plum puddings were orignally a featured dish of the Harvest Festival, they soon became all the rage of the Christmas season.

Figgy puddings, which date back to England in the 1500s, were a treat occasionally doled out to Christmas carolers by wealthier folks in town.

Sunday, December 23, 2012

Special Newsletter – With or Without Nibiru

Greetings!

Welcome to this Special One Time Only Completion of the 13th B’ak’tun of the Fourth World Issue of Guitar Noise News

IN THIS ISSUE:

  • Email of the Moment
  • Greetings, News and Announcements
  • New Articles, Lessons, Reviews and Stuff
  • Random Thoughts
  • Subscription / Unsubscription Info

EMAIL OF THE MOMENT

Hi David /Guitar Noise

Could I please mention that this (June 15, 2012) is the latest newsletter that I have received from your good-selves. I have checked my safe senders list and you are still on there â€" so I wondered if there was a problem at your end. I would love to continue to receive your excellent newsletter if it can be arranged.

Many thanks!

GREETINGS, NEWS AND ANNOUNCEMENTS

To put it mildly, things have been pretty strange this year. Many weird and wonderful, sad and scary, joyful and inspiring events have been occurring and in all the dealing with them, not to mention dealing with life in general, the Guitar Noise News kind of got caught up in the “we’ll get to it as soon as we can” pile.

And I can’t apologize enough for that. And while it’s incredibly tempting to spend even more time discussing many things you’re probably not all that worried about (and, truth be told, shouldn’t be!) I’d rather just say “Good to be back” and move forward.

After all, this may possibly be our last newsletter ever!

Oh, that’s not meant to be alarming. As you may (or may not) be aware, the world is possibly ending either Friday or Saturday maybe it’s Sunday, depending on whose Mayan calendar you may have been using. When you think about it, how can it be any one single day when in someplace on the globe it’s either tomorrow already or still yesterday. Prophesies never seem to take that into account for some reason.

Anyway, should it be that we are engulfed in the end of the world as we know it, we at Guitar Noise kind of figured that it only seemed appropriate that Paul and I should take the time to say both “goodbye” and “thank you.” After all (and we’ve hopefully said this more times than you can count), Guitar Noise wouldn’t exist without you, our readers. And if the world’s going to end, I say let in end in a song!

But it also goes without saying that this latest apocalypse may not come to pass. And should that be the case then Paul and I would like to take the time to wish all our readers, the entire world in fact, a wonderful upcoming New Year.

If you’ve not visited Guitar Noise of late, then one of the big bits of news is that the whole place (outside of the Forum pages) has been totally redesigned. I think you’ll agree it’s a stunning change and makes the place look (and navigate) much better. Take a look and tell us what you think!

One bit of important news to mention as well is that we’re going to need to ask you to resubscribe to Guitar Noise News. You can easily do that on our newsletter page. As always, Guitar Noise News (like the rest of our website) is free.

Let’s see, what else? Oh! We’ve got a great Guitar Glossary now, too. Paul did a great job putting together a lot of the musical and guitar terminology that we use all over Guitar Noise and put it all in one place. Better yet, most of the definitions also contain links to lessons and articles where the term in question is a featured part of that lesson. This should give you more of a grasp of each new concept.

Another great new area to watch at Guitar Noise is our ever-expanding Music Guide department. Here you’ll find lots of “mini-lessons” on various techniques and terms to help you make great strides in your guitar playing.

NEW ARTICLES, LESSONS, REVIEWS AND STUFF

In fact, newsletter or not, new articles and lessons get added to Guitar Noise all the time. Here’s what’s new just since the start of December:

FRIEND OF THE DEVIL

by David Hodge â€" As you learn more and more techniques, you should start trying to incorporate them into the songs you already know. We’ll take a very easy song and come up with some interesting things we can do for arranging it for the single guitar.

FIRST SONGS TO LEARN ON GUITAR â€" TOP TEN EASY SONGS

by Paul Hackett â€" If you’re new to the guitar, here is a starter guide of the first ten songs you should learn how to play. We have included chords and audio for each song.

FROM OLD WAYS TO NEW WAYS

by Paul Hackett â€" You’re now looking at a newly redesigned Guitar Noise. This is more than just a new look for the site â€" it’s also the beginning of us doing things in new ways.

10 WAYS TO MARKET YOUR GUITAR PLAYING

by Robert Kittleberger â€" It’s good to be noticed and appreciated for your guitar playing. Here are ten marketing tips you can use to help build a name for yourself.

5 WAYS TO GET MORE FROM YOUR GUITAR SCALES PRACTICE

by Mike Philippov â€" Discover five simple steps to make your practicing of scales much more productive.

GOOD KING WENCESLAS

by David Hodge â€" Here is a wonderfully simple, yet elegant arrangement of the beloved carol, “Good King Wenceslas,” done in open D tuning.

THE SECRET TO EXPRESSING EMOTION IN MUSIC

by Tom Hess â€" One of the greatest abilities you can have as a musical artist is to be able to take any idea or emotion and accurately convey it in music.

BEGINNER GUITAR FAQ

by Paul Hackett â€" Learning guitar can seem daunting. With all the different websites and teaching methods available it can be difficult choosing where to begin. Guitar Noise has been answering your questions for over ten years. The answers to most common questions are featured here.

DECK THE HALL

by David Hodge â€" Have fun playing this simple, yet challenging arranging of one of everyone’s favorite carols. If you can handle playing C, F and G and some basic fingerpicking, you’ll be performing “Deck the Hall” in no time!

HOW TO IMPROVE YOUR UPSTROKE PICKING

by Paul Kleff â€" This lesson will help you develop your upstoke picking techique and show you the best way to get a better sound, increase your pick speed and improve your timing.

WHY SOME MUSICIANS ALMOST ALWAYS SUCCEED IN THE MUSIC BUSINESS

Tom Hess, guitarist for the epic metal band Rhapsody Of Fire and a mentor to professional musicians worldwide, gives advice about how to make it in the music industry.

It goes without saying, again assuming we don’t have to deal with the whole  that we’ll be adding more new lessons throughout the upcoming year. In fact, part of our “downtime” was spent negotiating the use of several new songs for our Guitar Noise song lessons. The first of these, Green Day’s “Good Riddance (Time of Your Life)” will be out in just a few weeks, so keep your eyes out for it.

RANDOM THOUGHTS

To get back on topic, a lot of what the newsletter used to do â€" from announcing new articles and lessons, to bringing out the latest news about the site to simply talking about any subject that might come to mind (like I am now!) â€" is being handled by blog posts or announcements on our Facebook page and Twitter accounts. With the new re-design of Guitar Noise, part of me wonders if there’s still a place for Guitar Noise News.

Personally, I do think so. The newsletter is kind of like the evening meal at home â€" a time for the family to get together to just go over the day and to simply enjoy each other’s company. It doesn’t matter if some of the conversation isn’t new. I see “Guitar Noise News” in my inbox and I know that I’ll be getting some news from friends, from people whose company I enjoy. It’s the social aspect of the meal that is equally, if not more important than the nutrition.

So I’d like to ask you your thoughts. Feel free to post a comment with your observations, ideas and suggestions.

And, I’d also like your ideas about renaming the newsletter or whatever it ends up turning out to be. Maybe you’ll get a prize for coming up with a good one!

Finally, and even though this was mentioned earlier, it’s still very important, please take a moment to resubscribe to Guitar Noise News. Or whatever it’s going to be called! You can easily do that on our newsletter page.

Until next time, play well and play often. And my best wishes to everyone for a wonderful New Year. Or a blissful end of the world. Whichever comes first.

And, as always,

Peace

David

dhodgeguitar@aol.com

http://www.davidhodge.com/
http://www.guitarnoise.com/

Why Some Musicians Almost Always Succeed In The Music Industry And How To End Up Among Them

What do you think is the reason why some musicians develop highly successful music careers and most others end up either becoming ‘starving artists’ or abandoning music industry entirely? I have written about this topic extensively in the past and have explained that the answer ultimately comes down to having the skills needed to ‘add maximum value with as little risk as possible’ to all organizations, bands and people you collaborate with in the music industry. (If you don’t understand what this concept means, take this brief music business test to find out.) Even though there is a huge number of things that this idea relates to, it is the core concept that should be the basis for all actions you take in the music business. That being said, while the idea itself is easy to understand, it is quite a bit more challenging to fully assimilate it into your life as a professional musician.

As a trainer to musicians, the main thing I train people to do is to learn how to become effective at offering maximum value with minimum downsides/risk with every action taken. In my experience I noticed that most musicians easily grasp the idea of lowering their risk in conventional/obvious ways, however many people do not realize that even their ‘positive’ traits and skills can hold elements of severe music industry risk. It is the lack of understanding of this fact that proves to be the weakest link in the music career plans of most promising musicians, even those with a great deal of talent.

To end up as one of the few highly successful musicians, you MUST find out how to reduce the inherent weak points that lie on the opposite extreme of your music career strengths. As you read the rest of this article, I will demonstrate how to do this and explain how this analysis will bring you closer to the music career success that you want.

On your journey to become a successful music business professional, you have without a doubt spent a lot of time and effort developing the necessary skills and value to offer the industry. At the same time, if you are like most musicians, all your skills were acquired in a random fashion, lacking an underlying plan of how these ‘assets’ will fit together to enable you to build a music career. As a result of this random planning, it is more than likely that your positive pieces of value will also contain contradictory weaknesses that can be interpreted as damaging elements of risk if they remain unchanged. I have witnessed this firsthand with hundreds of musicians, and the saddest part was that this happened without them being aware of it.

To accelerate the process of expanding your music career, it is necessary to find out how to exploit fully the positive elements you already possess, while at the same time working to reduce the conflicting risks that each of them carries for your music career. Every successful professional musician has done this in the process of reaching their goals, while the majority of wannabe pros go through life wondering why what they are doing to build a music career isn’t working.

To help you perform this analysis on your own, consider the list below. I will list for you several common music career credentials (written in the left column of the table) that many musicians have. Next to it, I will describe how each of these assets can also become a very serious weakness (element of music career risk). The items listed below are some of the most common problems I have to correct when working with musicians in my program about becoming a professional musician(although the list below is by no means complete). There are many more elements of music career values and risks that I could list, but to keep this article on point I have narrowed it down to the points described below.

Note: Of course as a general rule, the items you will read about in the left column of the table are good/positive (at least when taken in isolation). However as you will see, when taken in context of your specific goals they also often contain unexpected weaknesses that can hurt you unless you take proper actions to prevent this from happening.

Your List Of Music Career Values And Assets Your Assets’ Matching Element Of Risk
You have great musical skills. As important as it is to continuously work on your craft as a musician, too many musicians make the mistake of focusing all of their time ONLY on their musical skills at the expense of investing any time on their music ‘career’. Unfortunately, superior musical skills alone are NOT enough to guarantee you a thriving life in the music business. Therefore it is critical to have balance between how you invest your time.
You have played, performed and toured with many different bands. This ‘credential’ can very often be perceived as showing a big lack of loyalty and commitment on your end to any one project. Even though your ‘actual’ loyalty and commitment may both be at a high level, you must be careful about controlling the perceptions that are created (in the minds of others) when you mention your past experience in the process of trying to advance your career.
You have pursued getting a music degree. Unless all you want to do is teach music as a professor in a college, a music degree is hardly worth the MASSIVE investment of time and tuition money if you want to be a professional musician. The reason is because in music school you are not going to learn anything about building a successful career at the end of your education. In the vast majority of cases, your resources will be better invested into actually expanding your music career directly and receiving ‘specific’ music career training from someone who is already a pro in the industry.
You are a jack of all trades player on many instruments. While having skills on many instruments is often (but not always) important for being a session musician, if you want to do anything other than work in the studio, in most cases you will be better served by becoming an expert on your chosen (one) instrument. Here you need to determine by yourself what it is you want to be known and perceived as in your music career and act congruently with that vision.Note: I don’t mean to imply that having general knowledge of more than one instrument is ‘bad’, but there CAN be a problem (depending on your goals) with trying to communicate to others that you are trying to make a name for yourself as someone who plays many instruments.
You are a musician who plays multiple different styles of music. Unless you want to make a living mainly as a songwriter for hire, it will be better for you to establish your musical reputation as a specialist in a single genre of music. Most bands and record companies prefer to work with someone who is an expert in the specific music they do. Think hard about where you want to see yourself in the music industry and take actions appropriately.
You are a fountain of new ideas and excitement for expanding your music business career. Musicians to whom this description applies often have a tendency to begin a number of new and exciting projects, only to let them wither away, unfinished. Over time, this leads to not only extreme frustration and overwhelm but also to a vicious circle of taking actions in your career based largely on emotional impulses rather than rational thought.
You are good at thinking things through. People who are too analytical in everything they do have a tendency to get stuck for too long in ‘planning’ and spend too little time actually ‘doing’ the things that will move them forward in their music careers. Although it is good to analyze issues from all angles, it is important to keep this quality balanced with the ability to take consistent action on a regular basis.
You very self-reliant and dependable. While self-reliance is an excellent personal attribute, musicians who are not used to working (effectively) with others will have a much harder time getting ahead in the music industry which REQUIRES one to be an experienced team player. Moreover, relying only upon yourself for everything can make it difficult for you to request help at times when your music career can truly benefit from it.
You are highly determined and have a tireless work ethic. All too often, people with the best work ethic can become too stubborn to change the course of action in their music career, even when the actions they are taking are not bringing them the desired results.
You are very friendly and considerate of others. Musicians who are generally considerate of others run the risk of having themselves taken advantage of in competitive music business negotiations (that you will often find yourself in while building your career). This may often happen even without you realizing how/why it occurred.

With the above understandings in your mind, here are some additional actions you can take right now in order to speed up the progress of your music career:

1. Understand that not all elements of music career value are ‘positive’ when taking into account YOUR long term music business goals. Certain things that may at first glance seem very important and necessary may very well diminish your overall music career potential (as you have seen in the examples in the above list).

2. Make it a priority to obtain the most clear picture of your present arsenal of risks and value items for your career in music. To help you with this, fill out this short music business test.

3. Design a plan for organizing the actions you plan to take to grow your music career. This means to write out the music career value assets you must develop to reach your specific goals and also think about how you will seek to eliminate the conflicting weaknesses that come along with them. You will have a much easier time doing this step of the process if you work with a proven music career trainer who has already coached musicians just like you to reach success in the music business.

4. Keep in mind that compiling a comprehensive plan for reaching your music career goals demands having a clear image of what you want to achieve and supplementing that vision through ongoing training. Fact is that the majority of musicians are not hard-wired for thinking in this way. They, as most creative business minds, tend to act on impulse and intuition. While those attributes are certainly valuable at times, it is important to know how to balance them with strategic planning and careful implementation.

Additionally, realize that all things that you do to grow your music career will have limited effect on your progress until you get clarity on elements of your psychological profile of strengths and weaknesses as described in this article. The good news is that after discovering the best ways to mine the maximum results out of yourself, you will find yourself moving much faster towards your goals as a professional musician.

To help you find out more about your current potential to launch or expand your music career, take this free music business test.

About The Author: 

Tom Hess is a touring guitarist, composer and a mentor to musicians. He plays in the band Rhapsody Of Fire. Tom also trains musicians internationally on how to get into the music industry. Visit tomhess.net to get free music business tips and music career resources.

Thursday, December 20, 2012

How To Improve Your Upstroke Picking

Is your single note guitar picking choppy, uneven and inconsistent sounding? Beginning guitar players often start out picking all notes using only a downstroke picking motion. Initially, this usually feels like the most comfortable way to pick notes on the guitar. In reality, it leads to timing and coordination issues with your picking and makes it very difficult to increase your picking speed. This lesson will help you develop the other half of the picking equation â€" picking upstokes â€" and show you the best way to get a better sound, increase your pick speed and improve your timing.

Gaining control and mastery of your guitar picking starts by making sure that your pick hand is in the best possible position to pick the correct string at the right time. While this may seem obvious, very small changes in your hand position can make a very large difference in your ability to pick accurately and get a good sound. Let’s make certain that your hand setup is soundâ€"from there we can start to incorporate the upstroke picking motion into your playing.

Once again: good guitar playing is the direct result of creating a good setup with your hands on the guitar.

Sit down with your guitar in playing position. Looking down at your pick hand, make sure the side of it is resting lightly on the front of your guitar on or near the bridge of the guitar. The key word here is “lightly.” Your pick hand should not be anchored tightly to the front of the guitarâ€"it should have to freedom to be able to move as your pick moves from string to string. The sensation in your pick hand should be similar to the feeling you have in your hand when you write with a pen or pencil. You can watch this guitar pick hand video to see the correct position and learn exactly how to improve your upstroke picking now.

Grab a pen and a piece of paper and write some sentences. Notice how the side of your hand rests lightly on the table. Now try writing with the side of your hand lifted off the table and just the tip of the pencil in contact with the paper and the table top. It is more difficult to control the motion of the pen without the stabilizing effect of also having the side of your writing hand lightly anchored.

This same principle applies to your pick hand on the guitar. The tip of your pen and the ability to control it is very similar to the tip of the guitar pick when you pick single notes. Noting the similarity between the two will make it more simple for your to get the correct position and feel in your hand for your guitar picking.

Once you are familiar with the hand position, you can start to work on the upstroke picking motion in today’s lesson. The pick motion involves the first three strings played in the order of first, second and third. Practice the sequence using upstrokes:

Upstroke pattern - figure one

Play the sequence several times in succession. You want to keep the following points in mind when you play it:

  • Use the hand position detailed in the first part of this lessonâ€"the side of pick hand resting near the bridge and not floating above the guitar.
  • Play slowlyâ€"we are trying to ingrain the correct, accurate motion.
  • Keep the speed of the notes even.
  • Make sure the notes are all sounding at an equal volume and sounding clearly.
  • Keep your pick motion in controlâ€"do not use a large “follow through” with the pick after you pick each string.

If you can play the sequence cleanly now, try closing your eyes and playing it. If your pick hand is in the correct position it may still be difficult for you but not impossible. With your hand resting near the bridge of the guitar, you should be able to pick the strings without looking at them after practicing this way for a short time.

This is why it is so very important to use the correct hand position. It will allow your pick hand to learn to find its way to the correct string without needing help from your eyes. The reason you want to be able to play it without watching your hand is so that you can now focus your eyes on helping your fret hand find the correct notes in the full Upstroke Picking Etude. You can see how to practice and develop the correct picking motion by watching the upstroke guitar picking video.

Now we can add the fret hand part to the picking sequence to play the full etude. In the Guitar Upstroke Picking Etude your fret hand will play the notes on the first string while the pick hand plays the recurring three string upstroke sequence. The pick hand should play the notes just like you practiced before adding the fret handâ€"all notes should be evenly spaced and sounding loud and clear.

Guitar Upstroke Picking Etude

The benefits of upstroke picking practice are many. In addition to developing pick hand independence and playing without watching the strings, you will also obtain:

  • Better timing and ability to keep a steady tempo in your playing.
  • Pick hand consistency. You will develop a reliable, repeating pick stroke.
  • More pick hand speed.
  • A better sounding guitar tone.
  • Control over your guitar sound.

In most cases, nothing happens on the guitar without the pick making it happen. While it is also important to develop your fret hand control and coordination, do not neglect the pick hand. The pick hand is the engine that makes your guitar playing go!

Watch and hear a demonstration of the upstroke guitar picking etude in this free free guitar picking lesson. Learn how to get your hand in the correct position and the right practice technique so that you can pick with confidence and a great sounding guitar tone.

About the Author: Paul Kleff teaches private guitar lessons and has created online lessons for beginner guitar players. Get more beginner guitar lessons, videos and tips to help beginning guitarists improve quickly Guitar Lessons for Beginners Online.

Monday, December 17, 2012

Deck the Hall

It’s easier to play a fingerstyle arrangement of a song than you might think. Knowing a few basic chords, coupled with some elementary finger picking technique, you can make even the simplest songs sound rich and complex. In this lesson, we’ll use the traditional Welsh carol, “Deck the Hall,” to explore just how this is done.

If you haven’t done so already, let me suggest that you take a quick look at our two-part tutorial on basic Travis-style picking. Part 1 will get your fingers limbered up while Part 2 will teach you the technique of pinching, which is an essential tool when playing chord-melody fingerstyle arrangements such as this one.

Let’s start out with a quick look at the structure of this carol. Melodically, the first two lines are identical. Plus, the accompanying chords are the same. The third line (“…don we now our gay apparel…”) is dramatically different and the fourth line starts out the same as the first two but finishes with a slightly different melody.

To make our lives easier, we’ll create our arrangement in the key of C, which will give us relatively easy access to all the melody notes (up until the last half of the third line) while still being able to finger the majority of the C, F and G (and occasional Am) chords that accompany most of the melody. Let’s examine the first half of the first line (in other words the first two measures!), which is the “Deck the hall with boughs of holly” part:

Deck the Hall guitar tab example one

Even though it may not look like it, essentially all that’s going on here is switching between C and G chords. However, they’re not your run of the mill C and G chords. In order to accommodate the G note that opens the melody, you want to play your C like this:

Deck the Hall guitar tab C chord with G on top

To play this, form a regular open position C chord and use your pinky to get the G note on the third fret of the first (high E) string. Pinch the A and high E (first strings), using your thumb on the A and whatever finger you’d like on the high E (the ring or middle fingers are strong choices) and then continue to strum downward with the thumb, striking the D and G strings. Shift the index finger of your fretting hand from the first fret of the B string to the first fret of the high E (first) string to get the F note in the melody (picked with one of your fingers â€" not the thumb!) and then remove it to clear the high string for the note of the open E (done again as a pinch with the thumb striking the A string.

For the G chord, you’re going to use a variation of “G/B,” which you may recognize as a slash chord. The most efficient way to finger the B note (second fret of the A string) is with your middle finger, which means you’ll use your pinky to get the accompanying D note (third fret of the B string). It looks like this in a chord chart:

Deck the Hall guitar tab G chord with B in bass

Once you’ve gotten through the first measure, the second measure should be a breeze. You will find that if you use your middle finger and pinky to fret the G/B that you’ll then slide easily into fingering a C chord to play the last two pairs of notes in this measure.

So far, so good! Now let’s move on to the “Fa la la la la la la la la” part that everyone loves (if only because it’s the part of the lyrics we always remember!):

Deck the Hall guitar tab example two

To make this passage easy on your fingers, fret the first pair of notes with your ring finger on the third fret of the D string and your pinky on the third fret of the B string. Believe it or not, this shape comes from the F chord. It’s basically an F6:

Deck the Hall guitar tab F6 chord

Using your ring finger and pinky allows you to reach the F note (first fret of the high E string) easily with your index finger. You should also find it very easy to shift back to the C chord that follows. This C starts with a pinch of the high E and A strings and then runs the bass notes up the D string. Pick those with your thumb. Then pinch again on the D and B strings to finish off the first measure of this section.

The second measure is another C to G to C chord changes. This time, though, we’re getting a little fancier with the picking and alternating each pinched pair of notes with a strike of the open G string.  If you’re pinching the strings with your thumb (on the A string) and middle finger (on the B string), this frees your index finger to pick the open G string. Playing this note repeatedly is called a pedal (or “pedal point” or “pedal note”) in music, by the way. It’s a technique used in a lot of songs (the Beatles’ “Blackbird” comes immediately to mind) and a good one to keep in your catalogue.

As mentioned, the second line of “Deck the Hall” is a carbon copy of the first in regard to its melody and chord accompaniment. However, that shouldn’t stop us from playing it in a slightly different manner. Let’s add the open G string pedal point to the second measure and then give the last measure a run of bass notes that leads to G, which is the chord that starts the third line. The entire second line will be like this:

Deck the Hall guitar tab example three

Okay, that gets us through the first two lines, or half of “Deck the Hall.” Now it’s time for the tricky part â€" namely, the third line. Let’s approach it by looking at the first two measures first:

Deck the Hall guitar tab example four

You want to start this line with a G7 chord, but one that allows you to get the D note at the third fret of the B string, like the first of these two chords:

Deck the Hall guitar tab G chords of line three

Remember that when you’re playing this you don’t have to have all your fingers in place on the frets. Doing so obviously has its advantages, but if you’re keeping your fingers close to the strings and in the basic shape of the chord, you won’t have problems moving your fingers around from one chord to the other.

And for these two measures, at least, again you’re faced with essentially a G to C to G chord change. The last G is actually G/B (the second chord shown in the last example, which is different from our earlier G/B) and you’ll probably want to finger it with your index finger on the second fret of the A string, your ring finger on the third fret of the B string and your pinky on the third fret of the high E (first) string.

Because of the work you’ve already done in the first two lines of “Deck the Hall,” these first two measures of the second line hopefully won’t pose that much of a challenge for you. This is good because you’re going to need a lot of patience for the last two measures:

Deck the Hall guitar tab example five

Here you start with a pinch of both open E strings, and you want to take advantage of this by getting your fingers ready for what’s coming up. Since all the fingering you’ll be faced with (up until the last two beats of the last measure) will be on the high E (first) string and the D string, do yourself a favor and keep one finger on each string. I recommend using your index finger on the D string (starting on the first fret) and either your ring finger or pinky on the high E (on the second fret).

After pinching the open E strings and then the second pair of notes (the F# on the second fret of the E string and the D# on the first fret of the D), slide your fingers up one fret to get the next pair of notes. That takes care of the first two beats of this measure.

Better yet, you’re essentially going to repeat what you just did to finish off the last two beats. Slide whichever finger is on the high E (first string) up to the fifth fret (you can either slide your index finger along with it or lift it off the D string â€" either way works) and then pinch this note along with the open A string. Now slide your finger on the high E string up to the seventh and add your index finger to the sixth fret of the D string and pinch this pair. Slide each finger up one more fret and pinch and you’re done with the hardest part of the whole song!

But don’t forget you’ve still got the last measure of the third line to go! Slide whatever finger is on the high E string down from the eighth fret to the seventh fret and pinch the high E string along with the open G string. Then play the open D string, using that moment to slide your finger on the high E down another two frets to the fifth fret. Place your index finger at the fourth fret of the D string and pinch the high E and D strings together, following that with a strike of the open A string. Finally, set yourself up with a normal open G chord and you’ll be good to finish up the last two beats. You’ll probably find it easiest to pick all the bass notes with your thumb.

And that leaves the last line, which you may remember starts out the same as the first two. But since you’ve gotten a lot better since the first time you played that line, let’s add even more pedal notes with the open G string in the first measure:

Deck the Hall guitar tab example six

Be careful with the last pinch in the second measure. You want to have the open D string (instead of the E note at the second fret that’s been used before) in order to create a walking bassline running from D to the F (third fret D string) that starts the next measure.

The next-to-last measure is a little tricky but, again, nothing you won’t be able to handle when you put some thought and practice to it. In all probability you played the E note (second fret of the D string) that was the last note of the previous measure with your middle finger. Slide that up one fret to the F note (third fret of the D string) and you should be able to get the A note at the fifth fret of the high E (first) string with your pinky. Keep it planted there while you play the other bass notes - the aforementioned F, the open G string and the A note at the second fret of the G (which you’ll get with your index finger)  â€" and then slide it down to the G note at the third fret of the high E (first) string while playing the C note (first fret of the B) with your index finger. In fact, here you can make the same C chord that you made at the start of “Deck the Hall”  Now you can definitely and officially relax because you’ve got one last set of G7 to C to G to C changes to make and you’re finished!

Let’s listen to the complete carol, shall we? As always, please forgive the (numerous) mistakes I make:

Download a PDF of the complete arrangement (Right-click and “Save as”)

I hope that you have fun with “Deck the Hall.” At its heart, this arrangement is basically changing from C to G chords a lot and picking the appropriate strings. Once you get a handle on that and practice the trickier changes, you’ll find that it’s a fairly simple piece that sounds a lot more complicated than it is. And hopefully you’ll enjoying playing it for yourself and your family and friends.

Do be sure to share you music with others, not only during the holidays but whenever you can. It may not seem like much but each time you give someone the gift of music you are making the world a better and happier place. And it certainly needs it.

Until our next lesson,

Peace

LINER NOTES:

“Carols,” the festive songs we hear and sing this time of the year, haven’t always been “Christmas carols.” Some may be tied to religious holidays (like “Good King Wenceslas” being a Saint Stephen’s Day carol) and other can be seasonal. “Deck the Hall,” for example, is a New Year’s carol.

And, traditionally, carols were dance tunes whose melodies were set but could have any set of lyrics that metrically fit the melody. There would often be contests as to which singer could come up with the best lyrics for a tune.

The melody of “Deck the Hall” comes from a sixteenth century winter carol called “Nos Galan” while the lyrics we all sing today are from Thomas Oliphant, a Scotsman who also wrote English lyrics for Schubert’s “Ave Maria” as well as the lyrics for the chorale for the 1863 wedding of Queen Alexandra of Denmark and England’s King Edward VII.

Beginner Guitar FAQ

Learning guitar can seem daunting. With all the different websites and teaching methods available it can be difficult choosing where to begin. Guitar Noise has been answering your questions for over ten years. The answers to most common questions are featured here.

Frequently Asked Questions: Beginner Guitar Recommendations and Advice

I’m new to the guitar. Where should I start out?

The greatest learning you can get is from a teacher. One on one lessons really allow you to grasp the concepts of learning at a faster rate and allow you to understand more effectively. If you are low on money and can’t afford a teacher then the internet is the next best thing. This, though, is going to mean that you will be learning ‘on your own’.

Guitar Noise is the best source for free online guitar lessons. Over the past ten years we’ve published hundreds of lessons, tips and reviews for students of all levels. We feel this site has something to offer everyone â€" from the absolute beginner to the seasoned professional. You might be wondering what order to begin reading the lessons in. This is easily one of the most common questions we get. To give you a full answer to this question we have written a blog post entitled: Where do I Begin?

Beginner guitar players should also check out the following resources on Guitar Noise:

We are adding and expanding our topic lessons all the time. Be sure to check out the featured topics page for more lessons.

We’re not the only website doing good work. Other sites that can help you get started include:

What are the first songs I should learn to play on guitar?

Kurt CobainGuitar Noise pretty much pioneered the whole “easy guitar song lesson” and we have plenty of songs to suggest!

In the blog post First Songs to Learn on Guitar we list our Top Ten easy songs for guitar. Each song is relatively simple for beginners to learn, complete with chords, tabs, step-by-step instruction, and audio examples. Every lesson also explains useful things about the music, so when you learn the featured song, you’ll also pick up some tricks to use when playing other songs.

What are the notes on a guitar?

Learning all the notes on your guitar’s fretboard is an important early step for the beginning guitarist. Knowing where all the notes are will help you with forming chords, playing scales, as well as soloing and improvising.

This chart shows all the notes on your guitar’s fretboard up to the twelfth fret. After the twelfth fret the notes repeat in the same order.

Fretboard map

What are the notes on a bass guitar?

Learning all the notes on your bass fretboard is an important early step for the beginning bassist. Knowing where all the notes are will help you while playing along with others and improvising.

This chart shows all the notes on your bass’ fretboard up to the twelfth fret. After the twelfth fret the notes repeat in the same order.

Bass guitar fretboard map

Here are the bass notes (from the bass clef) and their TAB counterparts.

Bass notes on musical staff and in TAB

Which chords should I begin learning?

For someone starting out, the inability to get a full sounding chord can lead to much frustration which, in turn, can lead to deciding that maybe the guitar is just too much trouble and not worth learning. For younger students, and also for some adults, the confidence gained by playing some single notes on various strings is all they need to make the next “step” into chord playing. I’d like to make a quick point that learning chords is not always the best way to start out, particularly for younger children.

To read the full answer check out Which chords should I begin learning? Also worth a read is the article Absolute Beginners Part 1: Chords.

Is there an easy way to learn barre chords?

Whenever I teach barre chords to a student, I tell them before hand that they are going to be hard to learn. They are like riding a bike, though. Once you get them, you’ll never forget them. No capo in the world can do what the barre chords do for music. If you look at your index finger, it has a slight bend to it. This leaves the center of the barre hard to press down. Now rotate the finger ever so slightly backwards so the knuckle is facing toward the nut of the guitar. This flattens the finger. Sure it still has a bend to it, but it is no longer a factor because the side of the finger, which is now flattened against the fretboard, is holding down the strings.

The other factor to remember is that we have been used to grabbing things with our hands and curling the fingers inward toward the palm. Now, with barre chords, we have to develop muscles we almost never use to flatten out the finger. As with all muscles, it takes time for strength and size to come about. Even though the technique may be perfect, you may have to keep at it and wait it out for these reasons. But it will come to you.

The last thing I want to say about this is this, look at the barre chord. Are there other fingers doing work in the center of the fretboard? If so then you don’t have to concentrate you barring efforts behind them. Watch what you are doing and what is needed.

How do I play guitar standing up?

The first thing that I would ask is where is the guitar (should I assume it’s an electric?) in relationship to your body? Most people tend to play their guitars really low because that how they see it in videos and I guess it’s really cool but it’s harder than anything to play well like that. Worse, you can develop serious wrist problems by doing that for long periods of time.

If you will watch the really good guitarists (those more interested in playing well rather than showing off) you will notice that they tend to have their guitars strapped higher on their bodies. Ideally you want your hand that’s fretting the neck to be about the same height as your chest.

Secondly, if you’re playing and singing at the same time, don’t be surprised if you find yourself taking a look every now and then to see where your fingers are. EVERYONE does this and if you carefully watch people playing on stage you will catch them doing it. This is especially true the higher up on the fretboard you go.I hope this helps.

How much time should I spend practicing?

Whenever someone asks “how much time,” a teacher is going to respond “as much time as you can.” That’s almost a pure reaction. The reality, however, relies on two separate things: the amount of free time you truly have and the physical condition of your hands.

To read the full answer check out How much time should I spend practicing? Guitar Noise also has an entire section devoted to practice tips where you’ll find all sorts of articles on this subject. A few highly recommended ones are Getting The Most Out Of Your Practice and A Question of Balance.

How do I get the most out of my practice time?

If you know some chords and where the notes are on the fingerboard, then you have to ask yourself, what you want to do? You already know enough to strum a lot of songs and even play song simple leads and riffs. You also know enough to start writing and playing some of your own songs. So there are a lot of choices and it’s really up to you. When my students reach a point where they have a lot of the basics down, I am often surprised by their next choices. One student of mine has recently decided that the next step is to learn how to read music so she can play classical and Spanish pieces. Another has decided to specifically target in on soloing while yet another is working on incorporating riffs into his rhythm playing.

I know that this may not be the answer that you seek, but without knowing what your purpose for playing is, I truly can’t tell you what to play next. I can tell you that there are TONS of things to learn! Take some time and think about what you want to do.

And then you might want to check out our articles on practice and focusing, such as Jimmy Hudson’s Getting The Most of Your Practice, my own piece, A Question of Balance on the Guitar Columns page and the new article coming out this week by Jamie Andreas, Guitar Practice Organization and Procedure.

Should I bother learning songs?

Something to keep in mind is that songs are pretty much what you’ll find yourself playing as a guitarist. When you perform in front of people, they’re not going to ask, “Would you please play the first two measures of Stairway To Heaven?” or “How about the middle part of Comfortably Numb?” They want to hear a complete song. And even if you just know the strumming part, that’s usually more than fine by them.

To read the full answer check out Should I bother learning songs? Also get a head start on learning songs by reading some of our Easy Songs for Beginners and Songs for Intermediates lessons.

What are some easy songs for a beginner?

If you already have a grasp of guitar basics (holding your guitar, tuning it) then the next step is to start building a repertoire of songs. Unfortunately most guitar courses or teachers don’t allow you to learn the songs that made you want to play in the first place.

David Hodge has written a very successful series of lessons called Easy Songs for Beginners that will get you playing in a very short amount of time. This series of lessons will teach you a bit of music theory and technique while you learn to play some pretty well known songs. For best results you really should begin with the first lesson and work your way up.

After working your way through these lessons you may be ready to graduate to the next level: Songs for Intermediates. These lessons take the next logical step moving from being a strict beginner to being a well-rounded guitarist.

Should I learn to read music?

Basically the decision whether or not to learn to read music has to be in an honest manner by the person making the choice. And the easiest way to do that is to, again honestly, list all the pros and cons about being able to read music. No lie! Get a piece of paper, draw a line down the middle and list all the good things about being able to read music in one column and all the bad things in the other.

To read the full answer check out Should I learn to read music? Also get a head start on reading music by reading the part one of Standard Notation and some of the other lessons in our reading music section.

Should I learn to play on acoustic or electric?

We get this question a lot at Guitar Noise and I think that everyone who answers it has different opinions.

There are a lot of similarities between the electric and acoustic guitar; they each have advantages and disadvantages to the beginner. It is easier to learn to finger pick on an acoustic. Barre chords and power chords are easier to learn on an electric. Because of the nature of the acoustic guitar, most people learn how to strum them but rarely take the time to explore the many styles and sounds that it is capable of. Because of the nature of the electric guitar, many beginners learn power chords and then little else. And when the acoustic player gets his first electric, he tends to play it like an acoustic. And vice versa.

Which is “better?” If you say right off the bat that you want to learn electric, I would tell you that electric is better for you. Is this necessarily true? No. But since this is where your interests currently lie, it is true for you.

What you learn from the guitar, or anything, is usually a combination of what you want and whether or not what you discover on the way interests you enough to take a detour. If you really want to learn a riff or a solo and you learn it, will you also take the time to figure out how you can use what you learn in another song or in a different style? Only if it interests you to do so.

It used to be that people started out with acoustic guitars mostly because it was expensive to get an electric guitar (and an amplifier and everything else that you’d need). That is not the case these days. If you want to play electric and you can get yourself a good set up, then by all means do so.

Because here’s the fun thing â€" if you choose the electric guitar now, there’s no reason why you won’t find yourself with an acoustic guitar somewhere down the road. I’d almost guarantee that this will happen.

Guitar Noise has a lot of information on buying equipment. An entire section on how to buy equipment has more than a months worth of articles. You should definitely check that out first if you are not sure about what to buy.

What is the best way to learn guitar?

Confronted with so many choices, deciding where to begin learning the guitar can be a difficult decision. Every journey begins with a single step, and while this may seem like a carefully planned plug, you would do well to spend a few hours familiarizing yourself with Guitar Noise.

On your very first day you’ll need to tune your guitar. From their you’ll probably want to learn some chords, figure out how to read tab and perhaps get an understanding of standard musical notation. It is really up to you where you go from there. You might even want to learn a little music theory, but I doubt it. At this point you’ll probably be ready to jump in and start learning your first song if you haven’t already.

A lot of music books start you off with some simple strumming patterns on some rather old songs. Guitar Noise has a section entitled Easy Songs for Beginners that takes a few easy and well known songs and presents them in the form of a lesson. Not only do you learn to play the song so you can impress other people, you also learn a bit of theory and technique that will come in useful later. The series begins with some very basic two chord songs so you don’t have to learn a lot of chords first. Some of our easy songs for beginners include Riders On the Storm, I Shot the Sheriff, Before You Accuse Me, House of the Rising Sun and more. When you have mastered some of the songs in this section you may want to try out some Songs for Intermediates page. These lessons are great examples, not only because they get you playing recognizable songs right away, but because they teach you all sorts of techniques you can apply to other songs you learn by yourself.

After working hard through these lessons you probably won’t need to learn specific songs from us anymore. You can either follow our lessons on Ear Training so you can figure out your own favorite songs by yourself, or you can settle in a read a different column each week.

Guitar Noise has several hundred lesson. It can be easy to let yourself become overwhelmed by all this free information. My advice is set up a practice routine. Then choose an area of interest and do one lesson each week. To do it properly you need to practice all the exercises and absorb all the principles. It is best to do one lesson and week so everything is made permanent.

To keep up to date and stay informed you should subscribe to our newsletter. This will let you know about new lessons as well as give you regular tips and advice.

After you’ve been here for a while we have a lot of other resources to keep you interested and busy. You can also learn about bass, amps and songwriting. We have a section entitled The Other Side especially for girls and women who want to learn. We also have discussion forums where you can ask questions and receive answers. We have reviews of CDs, DVDs, software and products too. We also have some interviews with various artists to help you further if you wish to start a career in music.

Your success with the guitar is going to depend entirely on what you put into it. Don’t believe that because you spend $30 on a book you will get anywhere faster or easier than if you lock yourself in a room with your guitar and computer for 2 hours a day.

What pitfalls should I avoid as a beginning student?

As I wrote down the usual list of items that teachers tend to discuss when asked this question, I realized that most of them, if not all, could be lumped into a single category: Impatience. Perhaps this is a bit of my trying to lump a lot of stuff into a small and neat package, but I think that it is impatience, however it might be disguised, is at the root of a lot of frustration, for guitarists and many other people as well.

To read the full answer check out What pitfalls should I avoid as a beginning student? Also worth reading is the article If I Only Had…

Will I ever succeed at guitar?

Here’s my secret: I’m just a beginner myself. OK, I’ve been playing 5 years relatively steadily (as much as you can with a full time job, two kids, a husband and a cockatiel…) but I get just as frustrated in progressing. It seems like I can put hours in, and not much happens. Then sometimes I walk away for a few weeks, and pick up my guitar again, and Voila! great sounds come out! It’s part of the mystery of the instrument. I think your fingers need time to input all the learning into your creative brain, or something like that. I’m terrible about practicing scales (regular or chromatic!) and stuff like that. I know I need to spend more time with the basics. I find that learning songs that I’m passionate about is the best way for me to learn. And sometimes I work so hard on a piece, and then give up, because it sounds like dog doo. I find coming back to it later, my fingers have somehow adjusted and it flows much more easily. I too, love the sound of classical style, but I despair of ever being able to play that easily. I know if I keep working on it, it will eventually come to me. Remember that the neck is different than your acoustic, and your fingers will take a while to adjust to it.

Take a look at Jamie Andreas’ stuff on Guitar Noise. She’s got some good theories for practice and I know she plays classical style. She had a nice article about feeling stuck in a certain place in developing your guitar skills, and how to get around that. It’s on Guitar Noise: Thinking: What a Concept!

I find that the guitar is the master, not me!

How do I find time to play guitar?

Time is one of those things that we approach differently depending what we want to do with it. We find that we make time for things when we need to or want to but don’t always see where that time comes from.

I started playing when I was seventeen. I was a junior in high school and basically between classes and working I didn’t get home until seven. Then homework. Then it’s time for bed already.

When you’re this busy you have to make time somewhere and you also have to make the best use of your time. As a beginner, the thing I worked on most was changing chords so I could play smoothly. I did this by learning songs. So on the weekends, I would take an hour or two that I might normally not be doing much of anything (sleeping late, watching television â€" no computers back then or I’m sure I’d be doing that as well) and learn one or two songs. Then during the week, whenever I had a moment â€" perhaps before dinner or waiting for my turn at the shower (four kids in the family) or (most usually) as a reward to myself for getting through one subject’s homework â€" I’d play what I learned over the weekend. Sometimes only once through, but usually, when you added it up, I got to play a half hour to an hour every day.

The thing is that I was always learning something. When refining a song during the week I might hit upon a technique that I’d try to remember to work into another song that I might learn the following weekend.

Time adds up. Even if you manage to find fifteen or thirty minutes a day, it adds up. And if you’re honest with yourself, you’ll FIND that time and then MAKE it your guitar time.

We have received a lot of good advice concerning how to find (or make) time to learn from our readers. One email, from Dave Brunat, I’d really like to share with you:

Buy a guitar stand. When I first started playing, it seemed like a lot of work to take the guitar from the case, make sure it’s tuned then make bad sounds. Then I bought a guitar stand and placed the guitar in my living room. It serves as a monument to remind me that I am not playing the guitar with the 15 minutes I’m wasting on the couch. It catches my eye when I’m surfing the channels and says “play me instead”. The instant access of the guitar allows me to get that 10 or 15 minutes in (which often turns into an hour) while I’m waiting for something else. Also, you have to practice your chords and chord changes until you master the skill. However, learn some 2 chord songs (G7 and C) or simple 3 chord songs so that you can have some feeling of accomplishment while learning. You can make “music” with these simple sings and see your progress.

You might want to check out an article I wrote a while back on the subject: A Question Of Balance.